Wealthy Mary Haines is unaware her husband is having an affair with shopgirl Crystal Allen. Sylvia Fowler and Edith Potter discover this from a manicurist and arrange for Mary to hear the gossip. On the train taking her to a Reno divorce Mary meets the Countess and Miriam (in an affair with Fowler's husband). While they are at Lucy's dude ranch, Fowler arrives for her own divorce and the Countess meets fifth husband-to-be Buck. Back in New York, Mary's ex is now unhappily married to Crystal who is already in an affair with Buck. When Sylvia lets this story slip at an exclusive nightclub, Crystal brags of her plans for a still wealthier marriage, only to find the Countess is the source of all Buck's money. Crystal must return to the perfume counter and Mary runs back to her husband.Written by
Ed Stephan <email@example.com>
The lines Mary reads alone in bed are from "The Prophet" by Kahlil Gibran: "Then it is better for you that you cover your nakedness and pass out of love's threshing floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears." MGM omitted the reference to "nakedness" to avoid offending the censors. See more »
At the Reno ranch, Countess DeLave exclaims "I've always put my faith in love. Still... I have had four divorces." However, earlier on the train, she had explained that her first husband left her a widow (and left her all his money) and she had only divorced the following three. See more »
[while giving Mary a manicure]
Well this Crystal Allen is a friend of mine, she's really a terrible man trap, soak it please. She's behind the perfume counter at Black's, so was I before I got fired... Uh, left.
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In the opening credits, before the photo images of the actresses are shown, their characters are revealed by images of various animals. See more »
At the start of the Technicolor Adrian fashion show, the video and TV versions have traditionally shown a Technicolor stage in the middle of the screen surrounded by pure white (this always struck me as odd but I never thought too much about it). The original 1939 version of the scene shows the Technicolor stage surrounded by the rest of the room IN BLACK AND WHITE, using a stenciling process developed for (but ultimately unused in) The Wizard of Oz. Presumably, because the reel starts right BEFORE the transition, it was either too much trouble and expense to process the small bit of stray black and white footage for television (it would have to have been printed separately onto each release print in 1939)or, more likely, the footage has been lost. The new video and cable versions show The Women in a reconstruction of the original version, with the Technicolor stage printed over a black and white still from later in the film. The image, as now presented, is much less jarring than the original video release. The fashion show was also shot in black and white, with the models interacting with the stars as they move throughout the boutique. After principal photography ended, MGM decided to re-shoot the fashion show in Technicolor (this color footage was not shot by George Cukor)and the models no longer interact with Norma Shearer, 'Rosalind Russell', etc. The original black and white footage, saved in the MGM vault, can now be seen as a special feature on the Warner DVD. Older television prints often showed the fashion show in black and white, but it was not this alternate footage, just the color sequence printed without its tints. See more »
This, by far, is the greatest classic bitch film of all time. It can never be equaled. They tried, but failed, when trying to remake it a musical with a less than glamorous casting of the roles made famous by the all-star female cast of the original written by Clare Boothe Luce. George Cukor, the director, had his hands full with the likes of these dames of fame. Each, in their own right, could steal a scene if left up to them, and they tried. But Cukor, held tight to the reins and kept them all in line. The beginning credits were cleverly done with each star being represented by an animal. Norma Shearer, the doe; the delicious Joan Crawford, a tiger; Roz Russell a cat; Paulette Goddard, a fox; Marjorie Main, a mule; Joan Fontaine, a lamb.
My favorite scenes were the fight scene with Goddard and Russell, bath scene with Crawford, and last scene when all THE WOMEN go at it at the ball. With wonderful, crisp dialogue, beautiful costumes designed by Adrian and a stellar cast, you can see the sparks fly in this all-time classic comedy of 1939.
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